Succession’s first episode begins with an elderly man stumbling out of bed in the middle of the night. “Where am I?” he mutters. “Where the fuck am I?”

​The light is so dim that we can hardly see the room he’s in, or anything in it. We can barely even see the man (“Where are we? A prison cell? A maze?” the script asks).

​The man is Logan Roy, owner of Waystar RoyCo, “the fifth largest global media and entertainment conglomerate in the world”. But we don’t know that yet. He could be any bewildered old man, stumbling in a fog of confusion, and we’re stumbling in the fog with him.

There’s a liquid patter, and we realise that the man is urinating. A light comes on, and we see that the floor he’s fouling is thickly carpeted. A woman in a nightgown appears behind him. “It’s okay, Logan,” she says. “It’s okay. We’re in the new place.”

Her manner suggests that she’s used to this kind of thing. She gently leads him away from the wet patch.

It’s powerful, disorientating story-telling, and suggests that the series will take a very particular approach to the craft of narrative.

Primed, I kept a lookout for further queasy moments - and outpourings of bodily fluids.

Sure enough, roughly ten minutes later, Greg Hirsch, Logan’s hapless, bumbling great-nephew, who’s working as a costumed mascot in one of the family’s theme parks, unwisely smokes a joint before donning his costume.

​He gets dizzy when a child unexpectedly begins to climbs on him, and is unable to take off his over-sized plastic cartoon head before being violently unwell.
​
Which brings forth the plaintive exclamation: “Eww! He’s puking out of his eyes!”

The opening scene forces us to lean in to the story, to try and make sense of what we’re seeing. It’s a challenge – and a statement of intent.

“If we’re going to show you something this intimate straight off the bat,” it seems to say, “you can see we won't flinch from any of this family’s deepest, darkest secrets. Wanna come along for the ride?”

After this, every painful, cringe-worthy exchange, every eruption of the human interior into the outside world, makes good on this promise, and reinforces it.

Logan’s youngest son Roman ejaculates on the window of his swanky high-rise office. His son-in-law Tom Wambsgans recounts how he has just ingested his own sperm from the mouth of a woman who’s fellated him. Logan’s other son Kendall bleeds from the nose after a lengthy cocaine binge and also defecates in his bed. Logan’s daughter, Shiv, very deliberately spits on Kendall’s notebook.

Logan himself continues to mutter darkly about his inability to control his bladder, to urinate in inappropriate places, and to suppress the urge to vomit with difficulty.

Succession’s creator Jesse Armstrong previously co-wrote Peep Show, a dark comedy which had more than its fair share of icky moments and often sailed close to ”gross-out” territory, so it’s obviously a bit of a personal signature. One American writer sees this mortification of characters as a specifically British brand of cynicism.

​But how does it refer to worldbuilding?

When you’re trying to create a globally popular long-form TV show or an open-world computer game, you need to think carefully about the world where your story takes place. Is it interesting? Is it new, fresh, original? Is it big enough to contain a story that can last for many seasons, or be played multiple times?

All stories need to create their own special worlds. It’s more obvious in fantasy-based genres like Science Fiction and Fantasy, and yes, there’s more scope – and probably more potential for things to go wrong – in these genres.

But worldbuilding is still there in seemingly ‘realistic’ forms of fiction, albeit in subtle and understated ways, and it's worth exploring exactly how this works.

In these kinds of stories, it’s all about emphasis - the things that storytellers decide to bring to the foreground, and the things they withhold.

It’s partly a genre thing

When writers are immersed in a genre, they may not think too much about its ‘rules’ – the fact that some things can happen, some things can’t happen, and some things can’t even exist in the world they’re creating.

​Perhaps they’ve internalised the rules so deeply that some psychological limiting effect kicks in which prevents transgression (although many stories might be more interesting if it didn’t - as we're seeing, Succession freely mixes a number of genres to produce its special narrative effects).

While simulating reality, stories actually give us carefully tailored versions of the world that hide at least as many things as they show, and which generally conform to our existing ideas of ‘what happens in this kind of story’.

It’s why real life can be so much stranger than fiction. Reality doesn’t need to respect genre rules, and will happily (or, in fact, obliviously) juxtapose the most incongruous things and events.

People tend not to be horribly murdered or suffer disfiguring accidents in rom coms, for instance. Protagonists rarely suffer from terminal or chronic illnesses in action-adventure yarns. Children are rarely seen in noir or neo noir movies (but tend to be very much in the foreground when it comes to horror).

There is plenty of violence in Succession, but none of it is physical - it all plays out verbally, emotionally, and in terms of this strange but marked focus on the characters' yucky and repellent side. This is clearly a conscious 'rule' governing the writing.

Horror is the genre most associated with ick, yuck, eww, and things that make us cringe, all of which come under the general heading of “the abject”. Succession isn't a horror story, but abject imagery is written into it at a deep level. 

By delving into the abject, horror wants to remind us of the things that we ignore, reject and cover up just to get through the day and fit into civilised society.

​The rot, refuse, fluids and effluents which are inseparable from our lives as embodied beings, but which we don’t want to think about, if we can help it, mainly because they remind us of our mortality. 

​So why does Succession have such a big yuck factor?

One author singles out humiliation as the show’s core emotion, and it's true that the threat of it (usually at Logan’s hands) marbles the Roy family’s luxurious life like veins of mould in a blue cheese.

Outbreaks of the abject tend to confer humiliation on those responsible, and some characters (Roman, Tom, Kendall), are so damaged that they seem to hunger for further degradation.

Even more than humiliation, though, this story is themed around, predicated on, obsessed with, one central issue.

And that is death.

Specifically, the death of Logan Roy, without which no ‘succession’, no handing over of power, is possible. 

The story's theme is written into that initial image of a bewildered old man in steep decline, out of control, regressing towards something worse than infancy.

​Logan Roy's physicality dominates the entire story-world of Succession. His health, or lack of it, sets its temperature and determines the lives of all the other characters. Everyone is minutely attentive to its nuances, and utterly dependent on its whims.  

Sometimes they want Logan to die, or disappear into senescence. Sometimes, when they see they aren't capable of replacing him, they need him to be strong (when a urinary tract infection briefly floors him during an important negotiation, they are completely thrown - even as they jeer at him for being "piss-mad").

But however quickly Logan Roy bounces back from his mini-stroke, however tough, and decisive he can still appear, however able he remains to taunt and wound his children, he is within touching distance of death, and moving closer to it all the time.
​
It's the issue that ties everything in the series together. All the lesser instances of loss of control echo and reflect the fact of death, and Jesse Armstrong has bravely and brilliantly built the world of Succession to reveal this reality in all its squeamish detail. ​

Lessons and takeaways

There are many worldbuilding lessons to be learned from Succession. But one of the most important, overturning the cliched advice to "write about what you know", is "how to write about what you DON'T know”.

Because who really knows what it’s like to be part of a family of billionaires which runs a global media conglomerate? Certainly not the team responsible for writing Succession.

Armstrong assembled a talented and diverse writers’ room for the project. They did an enormous amount of research, they discussed, elaborated and rejected ideas and plotlines, they used “wealth advisers” to fill them in on the mysterious ways of the super-wealthy – the 0.003%.

But mostly they relied on the writer’s most precious resources – empathy and imagination.

By Deola Folarin

1]  PAINTING WITH WORDS:

My first tip is as much for producers and script editors who are working with screenwriters who have dyslexia and other learning difficulties, as for the scriptwriters themselves. It is important to understand that dyslexic screenwriters think differently and that their approach to scriptwriting may be unusual. Yes, at times they don't catch onto what is easily grasped by most people, but they often think more than others in terms of visual and aural imagery. And cinema is a visual and aural art! And I believe others with dyslexia tend to think of screenwriting as painting with words and dialogue as cinematic poetry. Scriptwriting for writers with disabilities is not all 'Temple of Doom' and gloom: Spielberg was dyslexic! And it is believed that Stanley Kubrick had Asperger's Syndrome. Both are accomplished screenwriters as well as directors.

Because of my dyslexia, I never wanted to write. I came to writing as a frustrated director who wanted to get my own ideas down into a script that I could direct.

Now I really enjoy creating scripts, especially after I doing an M.A. in screenwriting. However, even today I have terrible problems with the 2 page-outlines that sell one's work. The logical progression, the correct grammar, and spelling demanded by these documents can be a minefield when you have a learning difficulty. 

However, they can and should reflect a dyslexic person's strengths. Use all those stunning visuals that you see and stories that you hear every day to help producers and funders quickly grasp the filmic life in your storylines, incidents, characters, visuals.


2]  THE STORY/PLOT NECKLACE

Here is where a dyslexic disadvantage becomes a firm plus. Dyslexic brains often make interesting connections and see the world differently as well as more visually. So search the internet, newspapers, and magazine for those diamonds in the rough. These are the beads you can put on that string of a plot. You might find a fantastic true story but you cannot get the rights or the first half is great but the second half is dull. That's, of course, the moment where creativity comes in - taking nuggets from life and stringing them together in creative ways. And dyslexics are often particularly creative - easily seeing original connections - for example, by way of unique angles e.g. point of view, sequences, etc. - that others find more difficult. Look at any great Spielberg or Kubrick film: JAWS, SCHINDLER'S LIST, FULL METAL JACKET, THE SHINING, 2001: A SPACE ODYSSEY. 

And of course, study all the great examples of original story/plotlines whether from life, novels, biographies, or wherever; whoever created them, disabled or neurotypical. Since one of a dyslexic's strengths is combining things in a unique way, it is important to study films that do this. E.g. BROKEBACK MOUNTAIN (I am not aware of a gay cowboy movie before this), JOHNNY MAD DOG, (essentially LORD OF THE FLIES but so originally set with boy soldiers in an African civil war zone). LIFE OF PI (You can't get much more unique than the story of a boy on a lifeboat in the ocean stuck with a tiger!) COP LAND( where a partially deaf sheriff defends his town from corrupt cops and the mafia). Or finally, MURDER BALL, (a feature documentary about disabled wheelchair basketball players).

Okay, you've thought of your unique, original, fascinating story but how do you tell it to others in two pages and a few rather formal paragraphs. I suggest taking a blank sheet of paper, drawing ten or so squares [ or circles] big enough for you to write one sentence in each. These are your beads. Then write one sentence in the first about the action/story that happens at the beginning of the film. Draw an arrow to the next box and continue to create the story necklace until you get to the end of your movie plot. I often start at the end. I like to know my climax and where I am going and then I go back to the beginning of the plot/story.

This diagram is a very simple way of having a visual sketch of your story in front of you.

If you do this on a large piece of paper then you can stick pictures that make comments on each story block next to it. This is hugely helpful when you are creating characters or setting the mood of the story/sequence.













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​3] THREE DIMENSIONAL CHARACTERS:

The best book I have read on creating characters, making them striking and three-dimensional is LINDA SEGER's CREATING UNFORGETTABLE CHARACTERS. Buy it and devour it. It is brilliant and helped me hugely.

There is nothing worse than an incredible story and pacey plot but with cardboard cut-outs for characters. Yes, it is difficult in a 2 pager not to have wooden characters since you don't have the visual poetry of dialogue in an outline but you can hint at the protagonist or antagonist's speech or unique mannerisms in your descriptions. Make your main characters unusual and stand out individually from the page. Your minor characters can be more stock. Remember we want to watch interesting people that hold our attention or ordinary people in interesting situations. No reader wants to read a 2 pager with dull characters. Strong characters will make your outline stand out. Shine!

Make a scrapbook that you can fill with interesting people whose stories fascinate you.

Create a list of questions that you would ask your character if you could speak to them. Become one of the actors in the story and interview yourself and other characters. This will really help you to make the characters more three-dimensional. 

Watch and study films with amazing characters in them: e.g. Melvin Udall in AS GOOD AS IT GETS, Mildred in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, Hannibal Lector in THE SILENCE OF THE LAMBS, Russell Stevens in DEEP COVER, Brandon Treena in BOYS DON'T CRY, Alonzo in TRAINING DAY. Travis Bickle in TAXI DRIVER. Ask yourself how could you have treated these characters in a 2-pager.

Now you are ready to try your two-pager. Even on its two pages, don't forget to paint with your words and create aural images. Arrestingly!


4] GET YOUR WORK CHECKED:

This is an obvious point but probably even the most important for us dyslexics and those who have other learning difficulties. This will help you make sure your work is clear, well-written, and engaging. This is vital as a reader for a funder, a film company, or competition will have hundreds of 2-pagers to get through. You don't want your nuggets to get buried in bad punctuation and inept grammar that is distracting for a reader. You want the reader to keep focused and excited. 

Make sure you get your work checked by a script editor, tutor, or another writer with strong editing, grammar awareness, and correction skills.

If you have no access to anyone, do not despair there are proofreading services online, like grammarly.com or https://kindlepreneur.com/best-proofreading-service/ or https://www.writersservices.com/editorial-services/proof-reading-service/. There are also fonts which are more readable for dyslexic readers such as Dyslexie and Open Dyslexic.

Although Euroscript is not a proofreading service they have amazing script feedback services and courses at Euroscript. 

Have fun painting with words and creating cinematic poetry. Carpe Diem!

By Alizée Musson

In the pre-internet age, filmmakers’ options for getting a foot in the door were limited to writing spec scripts and shooting short films for the festival circuit. Back then, reaching an audience was impossible without convincing the industry’s gatekeepers first. Nowadays, in the world of Web 2.0, reaching a worldwide audience is only a click away. Through their web series’, the following three projects gathered enough momentum to launch their creators’ big break.

So, what can we learn from these success stories that may inspire you to jump on the web series bandwagon?

The internet loves cats; it’s a well-known fact. Back in 2008, Simon Tofield, an animator, decided to teach himself computer animation by making a short film. Inspired by one of his four cats, Hugh, the film focused on a cat trying to get his owner’s attention in the morning. A simple idea that carried Tofield far. Without knowing it at the time, someone copied the film from his showreel and uploaded it to YouTube. By the time he realised, the video had captivated more than cat lovers around the world. Seeing the video’s popularity, Tofield decided to launch a YouTube channel to tell more of his buddies’ daily adventures -  Simon’s Cat was born!

​Hundreds of episodes have been made since, viewed around 1 billion times on a YouTube channel with 5.5M followers. From working alone behind his computer, Tofield became a director leading a team of animators. Simon’s Cat became so viral that in 2009, a book adaptation was announced and went on to sell internationally.

​From then on, the web series and his feline protagonist evolved into various formats: in 2012, Simon’s Cat comic strips ran in The Daily Mirror; in 2016, Simon’s Cat partnered with Sesame Street; and in 2018 the game Simon’s Cat Dash came out. 

Tofield’s experience is a perfect example of how sharing your work on a platform such as YouTube could be a great way to test a concept – even one you haven’t thought of yet.

In 2018, rapper and filmmaker Andrew Onwubolu (a.k.a. Rapman) released the three-part web series Shiro’s Story on YouTube: the story of a father who must dive deep into the London gang world to get his daughter back; all told through freestyle rap. Inspired by a real-life story from the South London neighbourhood of Lewisham, where Rapman grew up, the film was shot “guerilla-style” with a small cast and crew. The trilogy was an instant hit, gathering millions of views within the first hours of being released.

Shiro’s Story didn’t just garner a wide audience, it also caught the attention of producers and broadcasters. Thanks to this web series, Rapman moved on to more significant projects. In 2020, he released a crime drama feature film, Blue Story, based on another YouTube series of the same name that he had released in 2014. The film was co-produced by Paramount Pictures and BBC Films and was short-listed for the BAFTAS. The web series’ success also led Rapman to get a representation deal with the entertainment agency Roc Nation.

The success of Shiro’s Story is definite proof that you don’t need fancy gear and a big budget to create a hit – all you need is a good story.

People Just Do Nothing follows the lives of MC Grindah, DJ Beats and his friends running a radio station called Kurupt FM, broadcasting drum and bass music from Brentford, London. Created by Allan Mustafa, Steve Stamp, Asim Chaudhry and Hugo Chegwi, this mockumentary sitcom was first released on YouTube in 2011 as five webisodes, accumulating around 380K views. Among the audience was producer Jon Petrie who worked with a former producer of The Office, Ash Atalla. Seeing potential in the idea, Atalla arranged to produce a pilot episode for BBC3’s Comedy Feeds in 2012. BBC3 liked the concept and decided to pick up the series. Its first season was released in 2014 and ran for five seasons until 2018.

In 2017 the show won a BAFTA award and a Royal Television Society award for Best Scripted Comedy. Although it is now over, the creators have been working on a feature film adaptation due to be released in August 2021: People Just Do Nothing: Big in Japan. The series’ success has also opened many doors for the creators: Allan Mustafa, Asim Chaudry and Hugo Chegwin have since respectively appeared in films and TV series, including Netflix’s Love Wedding Repeat, Wonder Woman 1984 and The Announcement, and Steve Stamp continues to write for TV, including the TV movie Peacock.

While this web series did not gather millions of views, its concept stood out enough to get picked up by a significant broadcaster. You don’t need many episodes. All you need is a strong story to get noticed. 

THE FIVE PILLARS OF FEEDBACK
 
 
WHY
Every time I write something, I make the same mistake. “I’ve been a writer for a long time,” I think, “and finally, I know enough to write the final draft first.” I get to work, and produce my masterpiece. As a formality, I give it to a reader for feedback, expecting them to tell me it’s perfect. Instead, I receive an analysis of my work, pinpointing its weaknesses, and suggesting ways to improve it, all of which are suddenly obvious. “Of course!” I think. “Now, why didn’t I see all that?” 

The simple answer is that a reader of your work has a big advantage over you. It’s not that they’re smarter than you, or a better writer, it’s simply that they’re not you. No matter how objective we like to think we are about our work, we’re too invested to see it clearly. We need help.
 
WHO
Some people turn to their friends for feedback. Here’s a basic rule: if you want honest feedback on your work from your friends, you must be prepared to change one of two things – your work, or your friends. 

Exchanging feedback with a fellow writer may be a better option, and if you can form a mutually beneficial partnership with one, go for it. Writing groups can be better still, and some aspiring writers are surprised by how supportive they can be – but you’re all in the same boat, and what would be the point of trashing another writer’s work? 

Best of all, though, is getting feedback from an industry professional, whose only agenda is to help you do the best work you can. Why? Mainly because you’ll be paying them, and it’s in their interest to give you good value and useful feedback.
 
HOW
Don’t take feedback personally. If that seems like a surprising thing to say about your writing, which may feel like the most personal thing you’ve ever done, remember: it’s your work that’s being assessed, not you as a person. A good reader will be trying to help you move your work forward, and the process is a collaboration, not a lecture.

So, be positive. Treat every note you get as an opportunity to improve what you’re writing. If a reader highlights a weakness, don’t think of it as an error you need to correct; see it as a challenge: determine to not only fix what’s wrong, but to make it even better. I call this approach, “I’ll see you, and raise you,” and it can be exhilarating to see just how far you can take a reader’s note, and use it as the catalyst for transformation.
 
WHAT KIND
In general, there are two types of feedback: written, or in-person. You may find yourself in a position where the choice isn’t up to you; if, for example, a producer wants written "coverage" of your script in the form of a report that adheres to an industry template. But if you have a choice, think about what’s most useful to you. Written feedback gives you a formal assessment of your work by a reader, and the strengths and weaknesses of the draft you submitted to them. It provides a useful document that you can refer to when you’re writing your next draft. It can also be shown to other people (e.g., a producer, as mentioned).

Verbal feedback in person provides a more relaxed forum in which you can discuss your work and ideas with a script editor or consultant. It can be a very useful development tool, allowing you to think things through as you talk, and get a sense of where you should be going with your next draft. Cleary, both formats have their advantages, and if you have the choice, imagine what would help you most. You may find that you want to follow up a written assessment with a subsequent in-person conversation (with the reader who wrote the report, or a differ editor) or vice-versa.
 
WHEN
The best moment to get feedback is before you write anything. But in the absence of a time machine, get feedback when you’ve made your work as good as you can. The exception might be if you’re developing something with someone who’s monitoring your progress, but in general, wait until you’ve written what you think is your best draft. The reader’s job is to help you write a better one.

FOR DETAILS OF EUROSCRIPT'S FEEDBACK SERVICES CLICK HERE

As inspiration for the 4-evening workshop that starts on Thursday 7pm.

Only TWO places remaining!

Some of the most memorable films are set in just one or two locations. The self-imposed contained setting forces the writer to rely on character development to build tension and, as such, are excellent case studies in minimalism.

Here are eight of the best contained screenplays ever written that only take place in one (or a few) settings.

Some like EXAM produced for $600K remained true to their indie origins, some like PHONE BOOTH were studio films, others like BURIED, originally designed to be filmed on a micro-budget transcended their humble origins when a star became attached.

Regardless of their pathway these scripts all became successful films and are worth a read!

MARGIN CALL - On the eve of the 2008 financial meltdown a few hedge fund traders discover what is about to happen and have 24 hours to save themselves from the impending collapse.

PHONE BOOTH - A publicist finds himself trapped inside a phone booth, held captive by a sniper.

Funnily enough, Hitchcock originally wanted to make the movie in the late 60s but felt he couldn't do the concept justice from a technical standpoint.

THE INVITATION- A man accepts an invitation to a strange dinner party organised by his ex-wife which soon takes a turn for the worst.

BURIED - A truck driver in Iraq wakes up to discover he's been buried alive inside a coffin with only a lighter and a phone. ,

LOCKE - Set in a car over one night it tells the story of a construction engineer who must make the biggest decision of his life.

PANIC ROOM - A divorced woman and her diabetic daughter take refuge in their house's safe room when three criminals break in.

HARD CANDY - A teenager locks up a photographer inside his own house to force him to confess he abducts underage girls.

EXAM - Eight candidates for a desirable yet mysterious job are locked together in an exam room and given a final test.

All these scripts are a good reminder that personal conflict, emotion, flawed protagonists can be gripping no matter how limited the scope and setting of your script.

Give your protagonist a strong, universal goal and you have all the ingredients you need to write to write a compelling screenplay.

If you are interested in exploring your own idea and characters for a contained movie "Write the Contained Feature Film" starts on Thursday and there are only TWO PLACES left. Just like in the movies the more contained the workshop the better the experience in the Zoom world and, as such, places are limited!


4 x Thursday evening sessions:
February 25, March 4, 11, 18
7pm-9pm

Online workshop


Standard price: £198
Concession: £180
​

THERE IS POWER IN GROUP BRAINSTORMING

THEY PROVIDE A MUCH NEEDED SUPPORT SYSTEM

As a screenwriter, it’s easy to get stuck in your bubble and that’s not the ideal environment to turn an idea into a screenplay and keep the momentum going or to develop a screenplay once it's written. That’s why I love workshop environments, both as a writer and a tutor. I fell in love with writers workshops when I was a student at UCLA in Los Angeles, and I still find them invaluable. I love focus groups because they allow you to test your ideas at an early stage, and develop them before embarking on the journey of writing the actual script. They can also offer a bouncing board when you start doubting your idea, which inevitably happens no matter how experienced you are as a screenwriter and how many scripts you’ve written. There always comes a time when you start finding your idea silly, glib or too familiar and you have to push yourself to keep going. That’s when it’s great to have fellow writers who have your back and keep your on your toes. They keep you accountable, help you stick to deadlines, and ensure you remain focused on your end goal. 

But there are other perks too to being part of writers workshops:



FIXING ISSUES BECOME EASIER

By suggesting how to fix things on your peers’ stories you become more relaxed about improving your own script because you know that there is always a solution, even if it can feel like a frustrating and meandering process at times. Some stories are harder to crack than others but you come to appreciate that you aren’t alone, that the creative process is a struggle for most people most of the time. Thomas Mann said, “A writer is someone for whom writing is more difficult than it is for other people”. And boy, was he right but the shared struggle is what makes the breakthroughs all the more amazing to be be privy to because it reminds us that even when we feel stuck in our writing there is always a way forward.


PATTERNS EMERGE ORGANICALLY

I am a big believer in identifying PATTERNS when seeking notes. I like receiving more than one set of notes on a draft of a treatment or script to ensure it’s not just one person’s idea or own subjective opinion but a general problem with the story. I look into what readers keep saying over and over, which often indicates it’s an objective issue. For example, when more than one person tells you that you could combine two characters or they don’t buy an event, which happens a lot. What I love about workshops is that patterns become obvious during the feedback discussions. And, conversely, workshops make it easier to get a sense of what people are actually like, what they get excited about, which is crucial to understand because at times we are tempted to get rid of what actually works because it has lost the initial shine of novelty to us.



YOU FIND YOUR TRIBE

Finally, an upside of writing workshops is that they allow writers to find kindred spirits. And I have occasions where I ended up swapping scripts with another writer I met at a workshop. Most people aren’t surrounded by creative kinds in their day-to-day life and building a tribe is essential to fuel one’s creativity.

There is power in group brainstorming. A book I recommend on the subject is “CREATIVITY, INC: Overcoming the Unseen Forces That Stand in the Way of True Inspiration”. It was written by Ed Catmull, co-founder of Pixar Animation Studios and president of Pixar Animation and Disney Animation who shares his extensive experience working with teams of writers and directors around a table.



If you feel that the workshopping experience is something that would be beneficial to your writing I have two online workshops coming up in the next couple of weeks: ​

All writers fear rejection.

But it's an unavoidable part of the writing process - a side-effect of putting your work out there.

Even so, it doesn't feel good. We need to find ways to soften its psychological and emotional impacts, and prevent it from affecting us and our work.

And maybe we can even find something useful in it.

This article suggests some coping strategies.

1. There are different kinds of rejection.

In fact, the word itself is a bit of a misnomer. “Rejection” is really just the information that a particular producer or publisher can’t realise a certain film or book at a specific time. And there could be many reasons for this.

ACTION PLAN:  Get analytical. It’s important to be detached when dealing with bad news, not to let your emotions dominate, and to work out just what's happening in the situation you're dealing with.

2. You aren’t your work.

No matter how much time, effort and emotion you’ve poured into that pile of A4, it isn’t actually you. You are a human being, hopefully quite functional, with friends, family and a future that isn’t entirely bound up with a single manuscript.

ACTION PLAN:  Remember that in a short time you’ll be working on a new, possibly better idea, and this current story won’t be as central to your self-image as it is now.

3. Unnecessary fears?

If someone’s commissioned a script from you, they’re unlikely to reject it. Even if they feel your draft isn’t quite there, they’ll want to work with you to improve it. Worst-case scenario: if they have real problems, they may ask you to do an unpaid draft to get it back in shape.

ACTION PLAN:  Don’t waste energy worrying about something that’s unlikely to happen.

4. Shooting yourself in the foot.

Did you research the destination of your script or novel in detail? Or maybe you posted your romcom to a production company that only makes horror films? Perhaps you sent a script to a company which doesn’t accept unsolicited work? If so, you’ve effectively rejected yourself.

ACTION PLAN:  Make sure you send your work where it has a chance of being appreciated.

If the company your're targeting doesn’t read unsolicited material, ask a contact to recommend you, OR try to meet or otherwise contact an insider - and pitch your idea to them. If they're interested, the script is no longer unsolicited.

5. “We can’t make this, but …”

Production companies and publishers have to assess projects from many angles. Creativity is important, but so are financial considerations - particularly in cinema. Many livelihoods hang on the success or failure of a film, and every screenplay is essentially a proposal to set up a medium-sized business.

So some rejections aren’t really rejections at all. Maybe the small company you're dealing with really would love to make your biblical epic, and really does like the way you've rewritten the Sermon on the Mount, but just doesn't have the funds to produce it.

ACTION PLAN:  Start by assuming that most replies will be negative. But look at them carefully. Does the response contain positive comments about your story, or your writing? There’s no reason for a producer to sugar the pill, so if they say it, they probably mean it!

Don’t mistake a reponse that endorses your abilities for a blanket rejection. It could be the start of a conversation which will lead to future collaborations.

6. Learn from constructive criticism

Equally, be prepared to take criticism on the chin. If someone's taken the time to think about your writing and assess it honestly, they deserve thanks. Decide whether the points they make are accurate, or useful. They may contain valuable clues to improve your work.

ACTION PLAN:  Give yourself time to think through criticisms of your work. There may be nuggets of gold in them, even if you feel a little stung at first.

And don’t get bitter about people who critique your work, or go around denouncing them. As with the instance above, they may also turn out to be future colleagues.

7. Downright nastiness

I’ve said you shouldn’t bad-mouth people, but there are a few people out there who will unload a ton of vitriol on you for no apparent reason. Don’t take it personally. If they do it to you, they'll almost certainly be doing it to others.

Personal attacks are unacceptable, and they reflect on the perpetrator, not the recipient. Maybe the individual in question is facing some profound problem in life, maybe they were having a bad day - or maybe they're simply a deeply unpleasant person.

ACTION PLAN:  Have a really good day, just to spite them!

If you have any other ideas about dealing with rejection, please add them in the Comments section.

MY UPCOMING WORKSHOPS

Both these workshops aim to help writers avoid rejection by making their work as good as it can possibly be!

DEEP NARRATIVE DESIGN - June 12th

For writers in all genres - how to design stories which communicate the ideas and emotions you intend in the most effective ways.

For more details about Deep Narrative Design, click here.

WRITING HORROR - July 12th

Work through the many possibilities offered by horror to create cinematic stories with powerful personal, emotional, social and political themes.

For more details about Writing Horror, click here.

Long gone are the days where cat videos were the sole rulers of the internet. Today, modern audiences are hungry for compelling dramas and original fictions easily accessible from any device. Within this context, web series have flourished in the past few years.
​
So what's the key to writing a successful web series that will make you stand out from the crowd?

​Let's take a look at the first indie web series ever nominated for an Emmy award, Her Story to find out the answer.

Q: BUT HOW CAN WE TURN THESE ISSUES INTO FICTION?

A: They have something in common: human perversity and reversals of intention.

Many of the things listed above have a perverse aspect, in which things morph into their opposite ...

• The meteoric careers of dictators and firebrand politicians end in disaster.
  
  
• Supporters of populists end up with leaders who act against their interests.
  
  
• Sexual abusers are dicing with shame and exposure, maybe even willing it on.

This perverse streak is part of the genre description of Neo Noir, which you can explore in depth at our workshop on August 31.

Updating the tropes and conventions of classic Film Noir, the genre provides a tool-box of plots, characters and situations to deal creatively with our self-destructive tendencies.

Neo Noir protagonists often don’t really need antagonists – they do the job so well themselves.

Attend our next speakeasy

Article and image by Ian Long

“Let’s start on page one, shall we? Now, listen …”

The mood of the generally affable Paul Viragh, screenwriter of BRAZZA, SEX & DRUGS & ROCK N ROLL, THE FACE OF AN ANGEL and others, darkens a little when he remembers a meeting with a Script Executive who proceeded to read choice bits of dialogue from his screenplay in an affected, sing-song voice, and went on to preface each of his comments with the phrase:

“Now, if I’d have written this …”

The topic of the evening was script feedback - where to get it, how to take it, how to use it, and how to give it. And this is definitely not how to give it.

Early days

Paul has come a long way since this incident, and since the evening, long ago, when he and good pal Andy Serkis, both struggling actors trying to make headway in the film business, met up in Soho’s Blue Posts pub to plan their next move – and were so short of money that they had to share a pint. In fact he’s come as far as Fitzrovia’s Wheatsheaf pub, on the other side of Oxford Street, where he was the guest for our first Speakeasy event.

We’re hosting these night on the first Tuesday of every month: informal chats with writers, directors, agents and anyone else who might be of special interest to screenwriters.

Paul looks back to those early days, when he and a number of his actor friends were trying out other roles to give them more purchase in the industry, with mixed feelings. “We were all looking for some kind of validation,” he says, “and that was a long time coming.”

Fathers and sons

Paul wrote SEX & DRUGS & ROCK N ROLL on spec – “no one pays you for your first script” – and admits that he was more intrigued by the character of Ian Dury (charismatic and talented, but a tyrannical monster of ego), than by his music. And, for Paul, the real topic of the film was the relationship between Dury and his son.

Both Viragh and Serkis (who played Dury brilliantly) knew how it felt to have an absent father, and some scenes were lifted directly from their own lives rather than Dury’s. “You’ve got to write a human being,” Viragh says, and it’s clear that for him achieving emotional truth is more important than the niceties of biography.

Looking for funding

Many of the studio executives he approached for funding demurred with the tired fob-off that Dury was “an unsympathetic character” (Viragh notes that DOWNFALL, the massively successful, multi award-winning biopic of Adolf Hitler, had just been released when he was having these meetings).

Once he’d secured a large tranche of funding from one source, though, previously timid investors decided that unsympathetic characters may, after all, have a certain appeal – proving that the herd instinct is alive and well in the film business.

“Why don’t you make something up?”
​
Paul says his daughter often asks him this question, complaining that his scripts tend to be true life stories rather than free flights of fancy. He reminds us that a very high percentage of released films are, in fact, biopics – or are based on books.

Telling the life of a real person (particularly one who is well-known) gives you a head start in terms of recognition value.

​And – to return to the subject of bad advice – writing about real people protects you from script editors and executives whose notes about your protagonist go along the lines of:

​"What if she was a man?”



Want to meet other writers and hear industry advice from pros?

Attend this month's speakeasy on Feb. 26th